I've avoided this movie for sometime now. Firstly because friends told me that it was 'Pulp Fiction'-ish (and boy do I hate that movie). Secondly, because its British and although I'm from South East London myself and love British television comedies, I have rarely found British humour well translated onto the big screen. Normally it is toned down to plain slap-stick goofy uncomplicated Inspector Cleuseau type humour tailored for American audiences.
But to find not just British, but straight-faced East London cockney-slang and swear filled humour in a really stylish movie was a revelation.
I have always believed that British humor, especially East London humor is much more sophisicated than American humour. Maybe the reason why American audiences have been more forthcoming with LS&2SB is that despite the accent, they finally 'get it' without having to have it remade into an American version, ala Faulty Towers and Threes company and other British comedies. Yet, I believe Tom Cruise is remaking the movie with an American cast. I suppose for those who just cannot understand English unless its spoken in an American accent. That is really a shame as there are so many diverse accents all around the world and LS&2SB could not have been done in any accent other than cockney.
Still, there are bits only the British will get, like the scene with the three guys pouncing on the traffic warden in the back of the van. That scene had me clutching my sides. Only someone living in London can feel true loathing for a traffic warden, the most hated person in Britain.
Cinemtography was superb. I wont go into who's already done the slow-mo's and stop action argument. It is near impossible to do anything in a movie today that has not already been done. You can either do nothing - or do whatever you can as long as it suits the mood and the flow of the movie, and Guy Ritchie just cannot be faulted. He projects the seedy, thin laned, miserable weathered London, yet with such style that you want to see more. The camera work could not have been better. Just see the projection of Eddy's unsteady, light-headed wooziness as he gets up from the gambling table having lost everything and owing even more. Brilliant.
The Soundtrack was as diverse and yet brilliant as I have ever heard in a movie. I dont want to look like waving the Union Jack here, but this movie shows that the British have a more diverse taste in music. From Reggae, to Ska, to Rock, to Mikis Theodorakis every track played just added to the scene showed.
In short, LS&2SB is a movie that just does not stop for a second, is full of refreshing humour, filmed with style, has a lively soundtrack, some violence thrown in for good measure, and a story with more twists and turns than a bowlfull of spaghetti.
Dont let this movie slip you by. You'll either love it, or hate it.
If this movie was not British, I'd give it an 8/10, but since it is, it gets 9/10 from me.
Favourite dialogue: Rory Breaker: If you hold back anything, I'll kill ya. If you bend the truth or I think your bending the truth, I'll kill ya. If you forget anything I'll kill ya. In fact, you're gonna have to work very hard to stay alive, Nick. Now do you understand everything I've said? Because if you don't, I'll kill ya.
Lock, Stock and Two Smoking Barrels
Love Actually
In London, from five weeks before Christmas up to a month after Christmas, the lives of different persons are linked by love. The Prime Minister (Hugh Grant) and the member of his household, Natalie (Martine McCutcheon); his sister Karen (Emma Thompson), her husband Harry (Alam Rickman) and Harry's secretary, Mia (Heike Makatsch); Harry's employees, Sarah (Laura Linney), a woman with a serious problem in her life, and the designer Karl (Rodrigo Santoro); the writer Jamie Bennett (Colin Firth) and his Portuguese maid Aurélia (Lúcia Moniz); the grieving widow Daniel (Liam Neeson) and his son, Sam; a porn actress and her colleague; the singer Billy Mack (Billy Nighy) and his manager; the just married couple Peter (Chiwetel Ejiofor) and Juliet (Keira Knightley) and their best man Mark (Andrew Lincoln); a British young man that travels to USA, trying to score women in that country. "Love Actually" is a delightful homage to love. There are different situations, some of them dramatic, others funny, sometimes touching but never corny. The interconnection of the stories has a perfect timing. The cast is a constellation, highlighting the shining beauty of Keira Knightley and the nice role of Hugh Grant. There are many wonderful moments, such as the collective interview of the Prime Minister and the American president; or the moment when Karen finds that her Christmas gift is a CD of Joni Mitchell; or when Mark declares his secret love for Juliet; or the relationship of Daniel and Sam; or when Daniel meets Carol; or when the manager of Billy makes a comment about Elton John; or the narration in off in the beginning of the movie. I believe I could list many other magnificent moments, but better off the reader of my review rent or buy the DVD and have a good time. My vote is nine.
Title (Brazil): "Simplesmente Amor" ("Simply Love")
The Queen
A moment that may have felt like surrender to Elizabeth II is the most moving and powerful moment in a film filled with moving and powerful moments. Helen Mirren works a miracle with her characterization. When the Queen is forced by circumstances to address her people and mourn in public Diana's death, Helen Mirren doesn't forget that her character is a seasoned public speaker but not an actress. When she delivers her speech to her subjects, the real strength is in her commitment to her duty and not the meaning of her words. It is a chilling, masterful acting stroke. Stephen Frears uses the brilliantly structured script to reveal something that's always being in front of our eyes but we've never seen. The privacy of the most public people in the world. Michael Sheen is terrific as Blair and every piece of casting is truly inspired but it's Helen Mirren's film, oh yeah, one hundred per cent.
Becoming Jane
I saw this film on March 28th, 2007 in Indianapolis. I am one of the judges for the Heartland Film Festival's Truly Moving Picture Award. A Truly Moving Picture "…explores the human journey by artistically expressing hope and respect for the positive values of life." Heartland gave that award to this film.
The "Jane" is Jane Austen and this is a fictional depiction of her young adult life before her novel writing career. I suppose half of the tale is based on fact such as she rejected a marriage proposal, and half the tale is made up to create engaging story-telling. But that's not important.
The essence of the story is the mores of proper English society around 1800. Woman had their place. And that place was to give oneself to an arranged marriage and become a dutiful wife and mother. It was even more important to be in these roles if you were a daughter of a minister of modest means who had lots of children to care for. Jane was one of those children.
But Jane has spunk and smarts and a stubbornness to live her own life as she sees fit. Anne Hathaway plays young Jane convincingly and Anne's good looks are played down as much as possible. It's Jane's inner self that makes her attractive and not her exterior appearance.
And she is so attractive that she has three suitors; the rich and dull one, the poor and roguish one, and a secret and nefarious one. This circumstance allows us to see England from the various social strata, which is fun and informative.
Jane, 200 years ahead of her time, shows beauty and grace and charm and spirit, and will not buckle to her day's lot in life. We should all have such courage "… to follow our bliss" knowing we have but one life to live.
FYI – There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.
Atonement
Wright shows us a beautiful, intriguing and dark painting called 'Atonement'. Based on Ian McEwan's novel, is based on three principal characters and how a lie told by one of them changes all three of their lives forever. The character Briony is one of the most interesting characters in recent cinema. While the story is impactful, 'Atonement' is also marvelous to look at. The frames, the amazing cinematography (especially long shots e.g. set in Dunkirk, closeups and underwater shots), the music and the sets and locations are more than impressive and highly add to the poetry of the story.
The complex characters in demand strong performances. Sadly, Keira Knightley does not impress. I've never thought of her as a great actress. Here, she just lacks the nuances of a woman of that time (the film is set in the 30s) and she seriously needs to eat. James McAvoy is great. Child actress Saoirse Ronan is brilliant (certainly not the irritating child performances we so often see in films). She underplays her part with a certain dignity. Romola Garai is phenomenal in a briefer role. Supporting cast, that includes Gina McKee, Brenda Blethyn and Vanessa Redgrave, is good (as the aforementioned actresses have hardly ever disappointed).
'Atonement' is cleverly told from two different perspectives, that of what really happened and what Briony thinks/imagined. At times, it the film's sudden shift of gear (e.g. switching to the war scenes) feels odd but it comes to an almost full circle towards the end. I found the smoking habit of the characters (which was sort of in your face) annoying. Also, at times, the pacing was very slow. The ending is quite profound and it is left for the viewers to interpret and to seek an answer to a question that will definitely stay in mind long after the film's ended. In one word, I'd describe this film as a brilliant piece of work.
Trainspotting
In 1996 John Hodge took Irvine Welsh's novel "Trainspotting" and with the help of Danny Boyle's direction created one of the most influential, modern cult classics Britain has to offer. Commonly ranked among the greatest films of the 90s; "Trainspotting" delivers satisfactory viewing every single time. The essential drug film.
The term "trainspotting" in this case, is not the non-drug based hobby, but has two meanings for this film. A) The act of "trainspotting" is UK slang for trying to find a vein to intravenously inject drugs. And B) A joke not featured in the film, but two of the characters go to a disused train station to buy drugs and say they are going "trainspotting".
Ewan McGregor stars as Mark Renton, a performance that put him on the map, a man who spends; or wastes, most of his time taking drugs with his friends in one of their apartments. Until he decides to finally pack it in and go cold turkey. We see the highs and lows of the drugs as Renton attempts to build a new life. He battles the strain and the influences of his mates; including Sick Boy (Johnny Lee Miller) a man who stops at nothing to take all, Spud (Ewen Bremner) a fast-paced anxious performance and Francis Begbie (Robert Carylye) a frighteningly intense character who is possibly my favourite of all-time; and Renton's sex life.
Vibrant colour is used to exaggerate the actions to intensify the imagery on screen. This also makes it stand out from other films creating a massive impact on the viewer. Unforgettable. The soundtrack consists of the pop culture the characters themselves love and some regularly featured in real life at the time. The film captures the era perfectly.
Danny Boyle's stylish direction is what mainly is so appealing about the film. Delivering an expertly structured adrenalin rush. The daring topic of the film was well perceived by critics and audiences to claim universal praise. But, they were still unsure if it was supporting drugs or an anti-drug film. In a way it is both.
We are guided through the film with Renton's narration, making it an extremely watchable viewing, one irresistible to want to experience several times. A hilarious triumph. This is movie-making.
